Online Class, October 19 & November 2
1-5 PM, EST 
 
895

A Cloud withdrew from the Sky
Superior Glory be
But that Cloud and its Auxiliaries
Are forever lost to me

Had I but further scanned
Had I secured the Glow
In an Hermetic Memory
It had availed me now.

Never to pass the Angel
With a glance and a Bow
Till I am firm in Heaven
Is my intention now.
By Emily Dickinson
 
In this two-day class, we will be discussing the many applications of painting clouds and skies in the background of our paintings. Going over a brief history of cloud painting, we will discuss its many moods, which can lend to a portrait or still life, drawing out the psychological and spiritual aspects of each work. In addition, the mercurial nature of clouds makes it possible for us to paint most freely, availing ourselves of various tonal shifts, complementary hues, and even textural modalities, all of which feed back into the original subject of a painting and serve to tie together and elevate and artwork that may be needing just a little bit more. 
 
Before the class meets, it is recommended that you begin collecting your own treasure trove of “interesting skies.” These can be taken at sunsets, beaches, before/after storms, or indeed just any old day. Bring a camera with you often, even if it is just your phone, and start capturing the fleeting moments that spark your fancy. 
 
The class will take place over two separate days, October 19 & November 2. By spreading the class dates out like this, students will have ample time to work on their own pieces in between live sessions. 
The goal is to bring an I progress work or two to class on the first day, such as a portrait, figure painting or still life. We will be working with these as a foundation upon which to improve the subject, effectively matching cloud reference to aid in setting off the foreground. If you do not have an in-progress work, you may watch the class demonstration and use the technique later, or choose to make cloud studies from scratch. 
 
 
Supply list- This list is what Teresa Oaxaca uses herself. Please feel free to substitute any colors you find too troublesome to acquire. It is optional to have the same materials for this course.
 
Brushes
Filbert, flat of Round. It is recommended that you acquire a “full set” (sizes 1-12) range, or skip every other size if you want to bring less brushes to class.
 
Paints-
Ultramarine Blue Green Shade (Natural Pigments (or any ultramarine blue from Old Holland or Michael Harding or another brand of your choice)
Chromium Oxide Green
Viridian
Lemon Ochre (or any Yellow Ochre)
Chrome Yellow Primrose (or a cadmium Lemon Yellow)
Lead Tin Yellow Dark (not necessary, just my favorite)
Cadmium Orange
Pozzuoli Red (a fancy name for red iron oxide pigments. Try looking for Venetian Red or English Red too)
Rose Madder (or Alizarin Crimson, our Permanent Rose)
Cypress Umber Raw Dark (or a raw Umber)
Lead White (or Titanium white, Flake White Replacement)
Bone Black (“Ivory Black” No one makes paint from natural Ivory anymore, it's just a fanciful name)
Cadmium Red instead
Cerulean Blue
French Sienna
 
Mediums- Age Refined Linseed Oil, Stand Oil
 
Canvas Support- One stretched and primed linen canvas (or panel), size up to you.